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Raymond Ghirardo

Last Name: 
Ghirardo
First Name: 
Raymond

Megan Roberts, a composer and media artist, and Raymond Ghirardo, a sculptor and media artist, have been collaborators in video, sound sculpture, installation and performance for the past 29 years. They have received support from the National Endowment for the Arts, the New York Foundation for the Arts, the New York State Council for the Arts, the Experimental Television Center, the Minnesota State Arts Board, the Western States Regional Arts Fellowship, the Southwest Independent Production Fund and others. Awards include the James D. Phelan Award in Video and Grand Prize at the Tokyo Video Festival. Their works have been widely exhibited and screened nationally and internationally, most recently in Anchorage, Seattle, Rochester, Kansas City, Las Vegas, New York, Cleveland, Prague and Mojacar, Spain. They have been selected for awards of artist residencies to support and encourage new work at Yaddo, Saratoga Springs, the MacDowell Colony, New Hampshire, the Fundacion Valparaiso in Spain, Caldera, Oregon, the Prague Center for Contemporary Art in the Czech Republic, Yosemite Renaissance Artist in Residence Program, Yosemite National Park, Mooste KulalisStuudio, Mooste, Estonia, the Experimental Television Center, Owego, NY, Jentel artist residency, Banner, WY and Milkwood, Cesky Krumlov, CZ. Descriptions of Video Installation Works by Megan Roberts and Raymond Ghirardo "Mojacar Shadow" is a documentation of an exhibition/event in Spain. Abstract walking figures one hundred feet tall are projected on the bare mountain site of the ancient city of Mojacar which is now only a carved island of ruins. 2002(1:30) "Caracoles" is a stop-motion video animation created as one element of an installation, currently in progress. This installation will incorporate large translucent spiral sculptures as surfaces for projected imagery. The video is constructed around issues of form, color and surface as they define a sense of place. 2002 (:50) "Valley Shadows is a work in progress. The piece utilizes three tapes and three projectors, projecting directly from above, on a bed of salt. The exaggerated slow motion of the figures is mirrored with the audio creating an etheral, percusssive soundtrack 2001 (1:05) "Cone Field" is a work that incorporates layers of sound and multiple video projections with sculptural objects through a juxtaposition of natural and synthetic textures on geometric forms. The imagery on the tape is digitally masked so that the projection falls only on the objects, with no spillover to the background or floor.Texture and text are rhythmically interwoven. The texture drifts into manipulated landscapes and the text creates a hidden self portrait of personal identification - numbers that uselessly appear in written english, an obsolete abstraction- both raising iconographic questions. 2000 (3:50) "MEGAPHONE" is a sound and video installation in which a field of mounted and suspended cone shapes, each housing miniature LCD screens. Projected and kinetic elements on the walls combine with the cone objects and information providing comment, context and contradiction. Conceptually the work draws on ludicrous appeals to attention and placation. 1999 (:55) "HOODOO" is a installation/landscape of many organically textured hollow ceramic cylinders varying in height from 2' to 12', some with distinct human features. Several tubes house miniature video projectors that rear-screen project the imagery of bubbling mud onto a form-fitted scrim near the top of the tube. Using the recorded real imagery from the natural environment, remembered form, and anthropomorphic exxagerations there emerges a distilled sense of place. 1997 (2:45) "CROWD" Although the orientation of this mass of heads suggest organized movement, migration or procession, the various expressions belie any specific purpose, collective mood, attitude or unified disposition. Suspended over this queue are five small loudspeakers emitting a very quiet soundtrack of driving percussion and urgent vocalizations, suggesting a conflicting message of volition vs. reaction. 1996 (1:30) "INFLATED RUINS" is an imaginary archaeological site of large tyvek architectural and human forms. Among the inflated forms, piles of crushed marble partially obscure buried video screens that show recorded fragmented gestures of the populace before, during or possibly in anticipation of some collapse. Drifting shards of sound, originally created by the hoses that feed air to the forms, are the voice of this quiet ruined world. 1989 (4:20) "GHOST ROCKS" is a work is based on the unique rock covered landscape of the gold rush country in Northern California, a landscape created by gold mining processes that washed away the soil and left behind fields and hillsides of boulders. People living there now call these boulders "ghost rocks". The work is a reaction to the contradictory feelings suggested by this elegant but artlessly altered terrain . 1988 "BADLANDS" is a constructed mountain, dry and eroded in appearance, with a path to the 12-foot summit. At the top is an excavated copper-lined pit. At the bottom of the pit, buried in dirt, are three color television monitors which align to form the image of an anguished person pounding the ground. The mountain resonates with a deep hollow sound as the fist strikes. Physically the work makes reference to fossil sites in the Badlands of South Dakota. 1988 (3:30)